Brahmā and the Trimūrti
This article is an excerpt from HINDU GODS AND HEROES STUDIES IN THE HISTORY OF BY LIONEL D. BARNETT, M.A., Litt The Wisdom of the East Series Indpaedia is an archive. It neither agrees nor |
Brahmā and the Trimūrti
Brahmā, the Creator, a masculine noun, must be carefully distinguished from the neuter Brahma, the abstract First Being. The latter comes first in the scale of existence, while the former appears at some distance further on as the creator of the material world (see above, p. 60 f.). In modern days Brahmā has been completely eclipsed by Vishṇu and Śiva and even by some minor deities, and has now only four temples dedicated to his exclusive worship.[34] [Those are at Pushkar in Rajputana, Dudahi in Bundelkhand, Khed Brahma in Idar State, and Kodakkal in Malabar.]But there was a time when he was a great god. In the older parts of the Mahābhārata and Rāmāyaṇa he figures as one of the greater deities, perhaps the greatest. But in the later portions of the epic he has shrunk into comparative insignificance as compared to Vishṇu and Śiva, and especially to Vishṇu. This change faithfully reflects historical facts.
During the last four or five centuries of the millennium which ended with the Christian era the orthodox Vēdic religion of the Brahmans had steadily lost ground, and the sects worshipping Vishṇu and Śiva had correspondingly grown in power and finally had come to be recognised as themselves orthodox. Brahmā, as his name implies, is the ideal Brahman sage, and typifies Vēdic orthodoxy. He is represented as everlastingly chanting the four Vēdas from his four mouths (for he has four heads), and he bears the water-pot and rosary of eleocarpus berries, the symbols of the Brahman ascetic. But Vēdic orthodoxy had to make way for more fascinating cults, and the Vēdic Brahman typified in the god Brahmā sank into comparative unimportance beside the sectarian ascetics. Still the old god, though shorn of much of his glory, was by no means driven from the field. The new churches looked with reverence upon his Vēdas, and often claimed them as divine authority for their doctrines; and though each of them asserted that its particular god, Śiva or Vishṇu, was the Supreme Being, and ultimately the only being, both of them allowed Brahmā to retain his old office of creator, it being of course understood that he held it as a subordinate of the Supreme, Śiva or Vishṇu as the case might be. Meanwhile, at any rate between the third and the sixth centuries, there existed a small fraternity who regarded Brahmā as the Supreme, and therefore as identical with the abstract Brahma; but although they have left a record of their doctrines in the Mārkaṇḍēya-purāṇa and the Padma-purāṇa, they have had little influence on Indian religion in general.
A love of system—unfortunately not always effectual—is a notable feature of the Hindu mind in dealing with most subjects, from grammar to Ars Amoris; and this instinct inspired some unknown theologian with the idea of harmonising the three gods into a unity by representing in one compound form or Trimūrti Brahmā as creator, Vishṇu as the sustaining power in the universe, and Śiva as the force of dissolution which periodically brings the cosmos to an end and necessitates in due course new cycles of being.[35][ This idea in germ is already suggested in Maitr. Upan., IV. 5 f., and V. 2.] This ingenious plan has the advantage that it is without prejudice to the religion of any of the gods concerned, for all the three members of this trinity are subordinate to the Supreme Being, or Param Brahma, whom the Vaishṇavas identify with Vishṇu in his highest phase, Para-Vāsudēva, and distinguish from his lower phase, the Vishṇu of this compound, while the Śaivas draw a corresponding distinction between Parama-Śiva, the god in his transcendent nature, and the Śiva who figures in the Trimūrti. So the most orthodox Vaishṇava and the most bigoted Śaiva can adore this three-headed image of the Trimūrti side by side with easy consciences.
Dattātrēya
This idea of the three gods in one, though it is embodied in some important works of sculpture such as the famous Trimūrti in the Caves of Elephanta, has not had much practical effect upon Hindu religion. But it has given birth to at any rate one interesting little sect, the worshippers of Dattātrēya, who are to be found mainly in the Maratha country. The legend of the saint Dattātrēya, which is already found in the Mahābhārata and Purāṇas and is repeated with some modifications and amplifications in modern works of the sect,[36][ See Vāsudēvānanda Sarasvatī's Datta-purāṇa and Gaṇēśa Nārāyaṇa Karve's Dattātrēya-sarvasva.] relates that when the holy Ṛishi Atri subjected himself to terrific austerities in order to obtain worthy progeny, the gods Brahmā, Vishṇu, and Śiva visited him and promised him the desired boon; accordingly his wife Anasūyā gave birth to three sons, of whom the first was the Moon, an incarnation of Brahmā, the second Dattātrēya, an incarnation of Vishṇu, and the third the holy but irascible saint Durvāsas, representing Śiva. Dattātrēya dwelt in a hermitage in the Dekkan: he indulged in marriage and wine-drinking, which however were not detrimental to his miraculous sanctity and wisdom, and he became famous as a benefactor to humanity.
He is said to have lived in the time of Kārtavīrya Arjuna, the Haihaya king, and to have counselled the latter to remain on his throne when he wished to resign it. In older works of plastic art he is sometimes represented by the simple expedient of placing the three gods side by side, sometimes by figuring him as Vishṇu in the guise of a Yōgī with some of the attributes of the other two; but in modern times he usually appears as a single figure with three heads, one for each of the great gods, and four or six arms bearing their several attributes (usually the rosary and water-pot of Brahmā, the conch and discus of Vishṇu, and the trident and drum of Śiva), while he is accompanied by four dogs of different colours, supposed to represent the four Vēdas, and a bull.[37][ On these figures see Gopinatha Rau, Elements of Hindu Iconography, i. p. 252 ff. The dogs seem to be connected with the Vēdic Saramā, on whom see Charpentier, Die Suparṇasage, p. 91.] Observe that in all these types Dattātrēya is conceived as an embodiment of the three gods, which is comparatively a later idea, for in the oldest version of the legend he was simply an incarnation of Vishṇu; but as Vishṇu was regarded not only as a member of the Trinity but also the Supreme Being over and above it, Dattātrēya as his representative has come to include in his personality the nature of all the trio. There is, moreover, something curious in his character. His love of wine and woman is a singular trait, and is quite incompatible with the nature of an ideal saint. It smells of reality, and strongly suggests that he was not a figment of the religious imagination but an actual man; and this is supported by the tradition of his association with Kārtavīrya Arjuna, who, in spite of all the mythical tales that are related of him, really seems to have been a king of flesh and blood. Thus we may venture to see in him yet another example of the metamorphosis so common in India from a saint to an incarnation of the god worshipped by him.
